A Record a Week: Giants of Jazz Collection - Johnny Dodds

SIDE 1.
CANAL STREET BLUES
DIPPER MOUTH BLUES
SNAKE RAG
SOBBIN' BLUES
LONESOME BLUES
PERDIDO STREET BLUES
GATE MOUTH

SIDE 2.
TOO TIGHT
MIXED SALAD
I CAN'T SAY
MAD DOG
SOMEDAY SWEETHEART
SALTY DOG
SKID-DAT-DE-DAT

SIDE 3.
OH DADDY
THE BLUES STAMPEDE
WILD MAN BLUES
MELANCHOLY
S.O.L.
WOLVERINE BLUES
COME ON AND STOMP STOMP STOMP

SIDE 4.
AFTER YOU'VE GONE
JOE TURNER BLUES
WHEN ERASTUS PLAYS HIS OLD KAZOO
ORIENTAL MAN
HOT POTATOES
BLUE CLARINET STOMP

SIDE 5.
BUCKTOWN STOMP
WEARY CITY
BULL FIDDLE BLUES
BLUE WASHBOARD STOMP
GOOBER DANCE
INDIGO STOMP
FORTY AND TIGHT

SIDE 6.
PIGGLY WIGGLY
WILD MAN BLUES
MELANCHOLY
25TH AND DEARBORN
RED ONION BLUES
GRAVIER STREET BLUES

The earliest recorded days of jazz remind me of Figrin D'an and the Modal Nodes from Star Wars, in that the songs from that era all sound like they might be the same one repeated with different rhythm or tempo. The songs, as I have previously alluded, mostly sound like the instrumental soundtrack to early movies (with some lyrics strewn in) or oldschool jukeboxes in diners.

The songs on this record start off featuring Dodds in a group that also had a very young Louis Armstrong (possible crossover from this Armstrong record). These were groundbreaking recordings, as they were the first recordings of African-Americans doing original 'black music'. Any earlier records were white groups, because as sad as it is to say, that was what was acceptable at the time.

It is not until the second record comes in that the songs more prominently feature Dodds and his clarinet. Also, as these songs are from years later, the sound has started to evolve from the 'talkie' style of the early 1900's jazz. This more progressive sound is where I start to take more of an interest. Perhaps recording techniques improved so you could begin to hear subtleties you couldn't previously, or perhaps the style gained a bit of substance (in my opinion, that is).

It is always exciting to me to have my eyes opened to an instrument that I had not thought much about, something I used to find a challenge to do. Also, I used to think of such instruments, unjustly, as the ones that kids got stuck with if they weren't there on instrument selection day in 8th grade music class.

Dodds, although he did not possess the instrumental versatility of a Louis Armstrong, he nonetheless played the clarinet with mastery.

Sunday Brunch: The Best Smoothie I've Ever Made

I have made a lot of smoothies in my life; using juices, soy milk, protein powder, Spirulina and many other things. Although this one lacks the nutritional punch of some of those things, the flavour is impeccable. This recipe makes ample amounts for two people.

INGREDIENTS:
App. 2 cups Frozen Fruit(I use 'Caribbean Treasure' which is peaches, strawberries and pineapple)
1 Ripe Banana
Enough Soy Milk to just cover fruit(about 2 cups)
1 tbsp Vanilla (unless you use vanilla soy milk, but you might want to still add a touch)
Generous pour of Maple Syrup(about 1/3 cup or so(not table syrup, it's yucky))

In a large blender, put the frozen fruit and banana in. Add soy milk until it barely covers all of the fruit(small pieces sticking up a bit). Pour in vanilla and maple syrup and blend on 'smoothie' setting until the chunks are broken up. Enjoy!

A Record a Week: Dr. John - The Night Tripper/Gris-Gris

SIDE 1.
GRIS-GRIS GUMBO YA YA
DANSE KALINDA BA DOOM
MAMA ROUX
DANSE FAMBEAUX

SIDE 2.
CROKER COURTBULLION
JUMP STURDY
I WALK ON GUILDED SPLINTERS

As mentioned last week, this album is the voodoo/funk beginning of Dr. John (aka Mac Rebennack)'s career. The songs on this album invoke that slow deep south style of dance and images of masked voodooists dancing around a fire.

Dr. John's career was lifted instantly by this album and with the recent funk revival, this record has seen another wave of success. Although his live show contains only a few of these tracks by now, the album is still full of classics. The opening Gris-Gris is slow-cooked, much like the cuisine in Louisiana, where Rebennack calls home. The album gets upbeat in the following songs, infused with much jazz and funk.

This album was how I came about discovering Dr. John several years back, and it has been part of my rotation ever since. Not to be missed on side B is Jump Sturdy.

Sunday Brunch: Poached Peaches w/ Topping

INGREDIENTS:
2-3 Peaches per serving
2 cups Water
1/2 cup Brown Sugar
1/2 cup White Sugar
1 Vanilla Bean, cut lengthwise
2 Cinnamon Sticks, or tsp powdered cinnamon
dash Lemon Juice
1/2 tsp Peppercorns (optional)
Topping (more on this later)


In a pot, boil the water with the sugars, spices and lemon juice. Peel and slice the peaches and add to the boiling mixture. Lower the heat and simmer, stirring occasionally.

For a topping, use a warm toasted granola, or a vegan whipped cream, or whatever you'd like. I used Post Great Grains© cereal toasted in the oven at 350F for about 10-15 minutes with a bit of maple syrup, stirring every few minutes to prevent burning.

A Record a Week: Dr. John Plays Mac Rebennack

SIDE 1.
DOROTHY
MAC'S BOOGIE
MEMORIES OF PROFESSOR LONGHAIR
THE NEARNESS OF YOU
DELICADO

SIDE 2.
HONEY DRIPPER
BIG MAC
NEW ISLAND MIDNIGHT
SAINTS
PINETOP

Dr. John may be most famous for his funky New Orleans sound, or perhaps for his voodoo-inspired Night Tripper/Gris Gris days. However, the thing that doesn't necessarily shine through those records is his piano playing ability. Boy, can he tickle those ivories.

On this record, he strips down his sound and his moniker (born Malcolm 'Mac' Rebennack) to give you ten great tracks of just him and his piano. Even the vocals are sparse, leaving you to enjoy the true talent at the core of his music.

For those of you who are fans of Dr. John's Night Tripper days, I suggest you check this out as a musical history of the man behind those records.

A Record a Week: Herwin Records Presents - Dixieland Jazz Classics (1917-1928)

SIDE 1.
DIXIELAND JAZZ BAND ONE-STEP(Original Dixieland 'Jass' Band
MEMPHIS GLIDE(Original Memphis Five)
MOBILE BLUES(The Bucktown Five)
SAN SUE STRUT(Arcadian Serenaders
THAT'S NO BARGAIN(Red Nichols and his Five Pennies)
BIG BOY(The Wolverines)
AT THE JAZZ BAND BALL(Bix Beiderbecke and his Gang)
SAN(Paul Whiteman and his Orchestra)

SIDE 2.
DIPPER MOUTH BLUES(King Oliver's Creole Band)
MUSKRAT RAMBLE(Louis Armstrong and his Hot Five)
WEST END BLUES(Louis Armstrong and his Hot Five)
BLACK BOTTOM STOMP(Jelly Roll Morton and his Red Hot Peppers)
KANSAS CITY STOMP(Jelly Roll Morton and his Red Hot Peppers)
KATER STREET RAG(Bennie Moten's Kansas City Orchestra)
HERE COMES THE HOT TAMALE MAN(Doc Cook and his Dreamland Orchestra)
ROCKY MOUNTAIN BLUES(Fletcher Henderson and his Orchestra)

Much of dixieland sounds like the soundtrack to a silent film to me. Specifically the type where the characters move around very choppily and slap their faces in an exaggerated way and there are breaks between scenes that say 'I don't care how she votes I'm still going to marry her' (Buster Keaton in The Scarecrow). Perhaps that's because this was the style of music that coincided with the time of silent films. Either way, it's not just silent films that come to mind when listening to this music. Flappers, bobs, the Charleston, prohibition, speakeasies and many other things that happened in the first world war and post-war era.

If you didn't know that this album was a collection, you may think that it was the chronicle of one artist. The only real difference being the quality of the recording improves over time. The one notable difference on the album is Louis Armstrong, who adds a bit of the progressive jazz style that jump started his solo career. He also adds some of his signature vocals to the mix, something that most, if not all of the other groups did not do.